Colour and Contrast
Because of this physiological response, the eye can be "fooled" into seeing the full range of visible colours through the proportionate adjustment of just three colours: Red, Green and Blue.
The
eye contains two kinds of receptors: rods and cones. While the rods convey
shades of gray, the cones allow the brain to perceive color hues. Of the three
types of cones, the first is sensitive to red-orange light, the second to green
light and the third to blue-violet light. When a single cone is stimulated, the
brain perceives the corresponding color. That is, if our green cones are
stimulated, we see "green". Or if our red-orange cones are
stimulated, we see "red". If both our green and red-orange cones are
simultaneously stimulated, our perception is yellow.The eye cannot
differentiate between spectral yellow, and some combination of red and green.
The same effect accounts for our perception of cyan, magenta, and the other in-between
spectral colors.Because of this physiological response, the eye can be
"fooled" into seeing the full range of visible colors through the
proportionate adjustment of just three colors: red, green and blue.
Itten's 7 Contrats
-Contrast of TONE
-Contrast of HUE
-Contrast of SATURATION
-Contrast of EXSTENSION
-Contrast of TEMPERATURE
-COMPLIMENTARY Contrast
-SIMULTANEOUS Contrast
All the Contrasts happen at the same time when looking at colour. Some at a greater or lesser extent.
Contrast of Tone
Formed by the juxtaposition of light and dark values. This could be monochromatic.
(Single colours tonal value)
Yellow lightest, Blue Darkest, Red Midtone
Even without chromatic value you can still see the difference because of tone, when changed in the colour wheel to a greyscale.
Tone in relation to colour:
Orange closer to red in the colour wheel, tonely in colour they blend together
Blue and Red- Equidistance, Red is throwing the blue forward, jumps forward. Chromatically you can do this with colour. Higher contrast. Range of Contrasts.
Contrasts of HUE
Formed by the justaposing of different hues. The greater the distance between the hues on a colour wheel, the greater the contrast.
Blue,Yellow, is the Red- Blue tonely is the darkest so it is pushed forward on a white background. Yellow tonely is the strongest when put on a black background.
Black and white- Impacting colour when designing will have an impact on how your colours work.
Darkest trying to impose on the lightest, same for red to yellow, so blurs the hoins together,
Contrasts of SATURATION
Formed by the juxtaposition of light and dark values and their relative saturations.
Pure spectral yellow will always look the yellowist in comparison to other yellows when next to them.
Contrasts of EXSTENSION
Formed by assigning proportional field sizes in relation to the visual weight of a colour. Also known as the contrast of proportion,
Blue- Heaviest
(Not physical)
Yellow- Lightest
A Lot of yellow and a small amount of violet the violet will still be strong and push the yellow out. The visual weight of violet becomes a bold. When adding more so split the violet up both yellow and violet are both pushing forward, creating a conflict. The proportions make it more painful, need to balance them so its easy on the eye. Does the same if you create lots of violet and a small amount of yellow. Makes the lines wobble and look as if they are moving.
-Balancing colour isnt about having the same amount. Singular yellow line against a violet background as violet has more of an impact then a multitude of lines.
Contrasts of TEMPERATURE
Formed by juxtaposing hues that can be considered 'warm' or 'cool'. Also known as the contrast if warm and cool
Blue-Coldest
Orange-Warmest
Colours change, mid red certain temperature putting in a blue you cool it down. Changes the mid red to a more orange. One is bluer then the other. Red is there that makes it more red and it coold the red down pushes the darker red to a more blue. Edges the perception if colour changes can see the gradient colours when put them together, even though they are flat colours, down to temperature,
Pantone can specify the colour, colours around it changes the way the colours around it looks.
Complimentary Contrasts
Formed by justaposing complementary colours from a colour wheel or perceptual opposites.
Dealign with a high level contrast Red and green stripes hurt your eyes when looking at it.
Black and white stripes same value but not painful.
Complimentaries work together. (red and green) both trying to push each other forward, no matter what you do they will always find each other which makes them look as if they are blurred, wobbling and vibrating. All the chromatic values working together to vye for your attention,
Blue and green- Contrast of hue, saturaion, tone etc, Worst to look at,
Blue throws out orange, orange compliments the blur which makes them conflict against each other,
Simultaneous Contrast
Formed when boundaries between colours perceptually vibrate.
Orangey yellow, bluey green, merge and blur together, makes the green look like it has the thickest strip when infact they are the same width. Yellow finds the yellow in the green which is why it merges together based on the idea that if the complimentary colour is not there it you would want it to be so will bring it out in the other colour which changes what you can see.
Yellow and green, Red is missing can see yellow because its made by yellow so you cant see it.
Whenever we are seeing colour, these will always happen simultaneously,
Neutral grey background and focus on the yellow and grey, start to see violet next to the yellow.
The more you look at the blue stripes you can see violet, they change infront of you or they atleast appear too.,
Cant trust what you are seeing, effected by a physiological method, changes and shifts between the colours.
Task in Class
Choose a pair of complimentary colours, choose same objects of those colours(violet and yellow) and 5 coloured card. Explore how high contrast and low contrast moves in relation to the different colours., Photograph, Record it, discuss in terms of contrast what is happening.
Yellow Tube on Orange Paper:
-Low contrast in terms of tone
-Smaller contrast in terms if hue because they are closer together on the colour wheel
-Simultaneous contrast, Orange brings the orange out in the yellow object
-Contrast of temperature- adding yellow to the orange makes the temp cooler.
Yellow Pen on Blue Paper:
-Blue appears cooler when yellow is added. Contrast of temp
-Blue accentuates the yellow
-Yellow brings the green out the blue
Yellow object on Yellow Background
Tone- Low, as close toghether on colour wheel
Hue- Simular- Very little difference
Saturation- Sat higher in the object to the paper
Complimentary contrasts- desaturates when looking, can see elemnets of purple around the edges violet white halo around the edge that appears
Yellow object on Blue background-High Contrast
Tone- Lightest yellow, blue darkest- Still relationship
Hue- Closer ro orange Significant. Stands out because different colour
Saturation- Yellow makes the blue more dull more significant
Extension- More bluey yellow. Blue heavier but yellow imbalances to stand out
Temp- Yellow warmer blue colder more significant difference
Complimentary- Signifcant not going to change as much but conflict trying to push eachother out.
Yellow on Orange
Yellow on Red Highest contrast on Blue
Yellow on Green because closer to Violet
Yellow on Blue
Purple object on Blue Background- Low contrast, not as yellow on yellow but not as high as yellow on blue
Tonal- Not as high but a mid contrast doesnt have to move far
Purple on Blue can see the red in it
Purple on red- Brings out the blue in it
Green on Purple- Pushes the red out
